A Soviet Credo: Shostakovich's Fourth Symphony by Pauline Fairclough

By Pauline Fairclough

Composed in 1935-36 and meant to be his inventive 'credo', Shostakovich's Fourth Symphony was once no longer played publicly until eventually 1961. the following, Dr Pauline Fairclough tackles head-on probably the most major and least understood of Shostakovich's significant works. She argues that the Fourth Symphony was once substantially assorted from its Soviet contemporaries when it comes to its constitution, dramaturgy, tone or even language, and hence challenged the norms of Soviet symphonism at a vital degree of its improvement. With the backing of well-known musicologists comparable to Ivan Sollertinsky, the composer may perhaps realistically have anticipated the preferable to have taken position, and should also have meant the symphony to be a version for a brand new form of 'democratic' Soviet symphonism. Fairclough meticulously examines the rating to notify a dialogue of tonal and thematic procedures, allusion, paraphrase and connection with musical forms, or intonations. Such research is determined deeply within the context of Soviet musical tradition in the course of the interval 1932-36, concerning Shostakovich's contemporaries Shebalin, Myaskovsky, Kabalevsky and Popov. a brand new approach to research is usually complex the following, the place more than a few Soviet and Western analytical equipment are trained through the theoretical paintings of Shostakovich's contemporaries Viktor Shklovsky, Boris Tomashevsky, Mikhail Bakhtin and Ivan Sollertinsky, including Theodor Adorno's overdue examine of Mahler. during this means, the booklet will considerably raise an figuring out of the symphony and its context.

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